Relevant bibliographies by topics / Science fiction Illustrations

Academic literature on the topic 'Science fiction Illustrations'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Science fiction Illustrations.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Science fiction Illustrations"

1

Smith, Greg. "Fiction in Goffman." Sociological Review 70, no. 4 (July 2022): 711–22. http://dx.doi.org/10.1177/00380261221109029.

Full text
Abstract:
There are no references to creative fiction in Erving Goffman’s founding statement of his sociology of the interaction order, his 1953 Chicago doctoral dissertation ( Communication Conduct in an Island Community). Yet four pages into his first and best-known book, The Presentation of Self in Everyday Life (1959), Goffman cites a ‘novelistic incident’ describing the posturing of Preedy, a ‘vacationing Englishman’ on a Spanish beach. It is introduced in order to articulate the distinction between ‘expressions given’ and ‘expressions given off’ and to indicate their capacity for intentional or unintentional engineering. The page-long passage about Preedy, found in a 1956 collection of William Sansom’s short stories, is often mentioned in reviews and summaries of Goffman’s groundbreaking book. This article describes the types of fiction drawn upon by Goffman and examines the ‘work’ that fictional illustrations distinctively do in his writings. The discussion sheds light not only on why Goffman elected to include fictional illustrative materials in his sociology and why eventually he dropped their use, it also underscores some strengths and limits of the fictional for interactional analysis in sociology.
APA, Harvard, Vancouver, ISO, and other styles
2

Lagrange, Pierre. "Pour une analyse symétrique des illustrations de science et de science-fiction." Socio, no. 13 (December 12, 2019): 103–33. http://dx.doi.org/10.4000/socio.7783.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kotišová, Johana. "Creative Nonfiction in Social Science: Towards More Engaging and Engaged Research." Teorie vědy / Theory of Science 41, no. 2 (February 24, 2020): 283–305. http://dx.doi.org/10.46938/tv.2019.487.

Full text
Abstract:
The paper aims at identifying, explaining and illustrating the affordances of “creative nonfiction” as a style of writing social science. The first part introduces creative nonfiction as a method of writing which brings together empirical material and fiction. In the second part, based on illustrations from my ethnographic research of European “crisis reporters,” written in the form of a novel about a fictional journalist, but also based on a review of existing social science research that employs a creative method of writing, I identify several main affordances of creative nonfiction in social-scientific research. In particular, I argue that creative nonfiction allows scientists to illustrate their findings, to express them in an allegorical way, to organize data into a narrative, to let their pieces of research act in the social world, and to permeate research accounts with self-reflexive moments. I also discuss some apparent negative affordances: challenges that creative nonfiction poses to readers and to the institutionalized academic discourse. Finally, I suggest that writing about sociological problems in the style of creative nonfiction can help to produce more engaging and engaged texts, and I discuss the ethical implications of the approach.
APA, Harvard, Vancouver, ISO, and other styles
4

Stoneman, Lisa G., DorothyBelle Poli, Anna Denisch, Lydia Weltmann, and Melanie Almeder. "Book Publication as Pedagogy: Taking Learning Deep and Wide." Art/Research International: A Transdisciplinary Journal 4, no. 2 (August 30, 2019): 568–89. http://dx.doi.org/10.18432/ari29446.

Full text
Abstract:
For students, the practice of writing, illustrating, and publishing facilitates deep learning experiences, both within and beyond the discipline for which the writing is targeted. In this case study, students created books under the umbrella of a large, transdisciplinary research project: a science-based, illustrated activity book, a children’s fiction chapter book with illustrations, an adolescent novel, and two illustrated social studies activity books. Students completed the self-directed research, wrote the narratives, created the artwork, sought the advice of outside scholars and artists, and revised with discipline-specific mentors. Data include the books, mentor notes, and student-reported learning outcomes. Data reveal broad content and pedagogical skill knowledge acquisition, knowledge synthesis, and a deep level of self-authorship.
APA, Harvard, Vancouver, ISO, and other styles
5

Awajan, Nasaybah, and Hussein Al-Omari. "The Role of Illustrations in Following Along with the Events in Fiction." Academic Journal of Interdisciplinary Studies 11, no. 2 (March 5, 2022): 320. http://dx.doi.org/10.36941/ajis-2022-0054.

Full text
Abstract:
The study explores the effect of using illustrations with written narratives in short stories on the readers who are following along with the events and linking these events together. The study also explores the impact of applying critical thinking skills in using illustrations with the written narrative on readers who are following along with the events of the short story and linking them together. A mixed method was used to answer the questions and obtain the results. The quantitative method was used, where a study sample consisting of 35 students who were asked to submit an exam twice. The first time the exam contained only the written text. However, the second exam contained both the written text and the illustrations from a book. The qualitative method was applied on the same sample of students, where they were interviewed and asked whether the illustrations helped them in answering the questions on the written narrative. Next, they were asked specifically about the six questions which were based on the students’ use of their critical thinking skills in linking the provided illustrations with the written narrative. The study concluded by presenting how illustrations have a great effect on the students’ following along with the events and understating the main ideas in the narrative story. The results also show that the written text cannot always stand alone, and especially when it comes to young readers because they still lack the experience and the ability to be able to understand things on their own. Received: 30 November 2021 / Accepted: 3 February 2022 / Published: 5 March 2022
APA, Harvard, Vancouver, ISO, and other styles
6

Smith, Susan. "Rehabilitating the mind: Avatar (2009), Inception (2010) and the science fiction imagining of lucid dreaming in the treatment of post-traumatic stress disorder in the U.S. military." Transcultural Psychiatry 57, no. 6 (February 25, 2020): 801–9. http://dx.doi.org/10.1177/1363461520901638.

Full text
Abstract:
Transcultural psychiatry has increased awareness of alternative approaches to mental health and wellbeing, influencing developments in Western psychotherapeutic treatments. In this article, I look at the recent interest in alternative therapies by the U.S. military, which has explored the possibilities of lucid dreaming in order to help soldiers cope with the adverse mental and emotional effects of combat—commonly referred to as post-traumatic stress disorder (PTSD). In this context of concerns about effective rehabilitation and the cost of veteran care, I examine the popular science fiction films Avatar and Inception, which have been discussed in the media as illustrations of the potential use of lucid dreaming and digitally created virtual worlds to “heal” the minds of soldiers affected by modern warfare. In these media portrayals, psychology and science fiction come together to envision and promote human-machine fantasies of the endlessly salvageable and, therefore ultimately, invincible American soldier.
APA, Harvard, Vancouver, ISO, and other styles
7

Fedotova, Olga, and Vladimir Latun. "Deconstructive approach in the presentation of botanical knowledge in educational materials for students." E3S Web of Conferences 273 (2021): 12020. http://dx.doi.org/10.1051/e3sconf/202127312020.

Full text
Abstract:
The article discusses the latest trends in the field of presentation of natural science information for students, which have developed in the postmodern era. It is shown that botanical illustrations presented in postmodern alphabets do not reflect the morphological features of plants. When depicting plants, the author uses the technique of deconstructing images presented in ancient botanical atlases. Fragments of botanical illustrations are placed against the background of everyday scenes of the 19th century, including those of a fantasy nature. The structural components of the botanical educational book, its content and ironic author's comments are considered. The description of plants is pseudo-academic: the texts are surreal, they combine fiction and truth, fantasy and the specifics of the action. It is concluded that the irony of the comments does not contribute to the formation of the foundations of the natural science worldview.
APA, Harvard, Vancouver, ISO, and other styles
8

Fey, Marco, Annika E. Poppe, and Carsten Rauch. "The nuclear taboo,Battlestar Galactica, and the real world: Illustrations from a science-fiction universe." Security Dialogue 47, no. 4 (July 8, 2016): 348–65. http://dx.doi.org/10.1177/0967010616643212.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Vasilyeva, Viktoriya Vasilyevna. "Utopia of space in the book graphics by Francisco Infante." Человек и культура, no. 1 (January 2022): 62–71. http://dx.doi.org/10.25136/2409-8744.2022.1.37472.

Full text
Abstract:
The subject of this research is the book illustration by F. Infante in comparison with his graphics and easel works. The object of this research is the image of space in the book illustration by Francisco Infante. The research employs the popular science and science fiction publications illustrated by Francisco Infante, as well as his graphics and painting. The article examines the specificity and uniqueness of the image of space in the artist’s works. Attention is given to comprehensive comparison of this image in the book illustration with the more extensive context F. Infante’s works. Based on the example of book graphics and analysis of theoretical concepts of F. Infante, the article aims to reveal the distinctness of his representations of space from the perspective of the utopia of relations between man and the Universe, as well as to determine how illustrations on this topic fit into the general context of the works of the artist. The main conclusion lies in description of the unique approach of F. Infante towards the indicated topic. The artist referred to the main motifs from his graphics and easel painting; however, modified them according to the specificity of plotline of the illustrated publication. Special attention is paid to the artist's preferred shapes: spiral and dot, with allowed reflecting the idea of the infinite space. The novelty of this article consists in reference to the material that has not yet been used for comprehensive scientific work in the field of art history. The author is first to introduce into the scientific context the book illustration by Francisco Infante on the space theme.
APA, Harvard, Vancouver, ISO, and other styles
10

Searle, Adam. "Anabiosis and the Liminal Geographies of De/extinction." Environmental Humanities 12, no. 1 (May 1, 2020): 321–45. http://dx.doi.org/10.1215/22011919-8142385.

Full text
Abstract:
Abstract The spectacle of de-extinction is often forward facing at the interface of science fiction and speculative fact, haunted by extinction’s pasts. Missing from this discourse, however, is a robust theorization of de-extinction in the present. This article presents recent developments in the emergent fields of resurrection biology and liminality to conceptualize the anabiotic (not living nor dead) state of de/extinction. Through two stories, this article explores the epistemological perturbation caused by the suspended animation of genetic material. Contrasting the genomic stories of the bucardo, a now extinct subspecies of Iberian ibex whose genome was preserved before the turn of the millennium, and the woolly mammoth, whose genome is still a work in progress, the author poses questions concerning the existential authenticity of this genomic anabiosis. They serve as archetypal illustrations of salvaged and synthesized anabiotic creatures. De/extinction is presented as a liminal state of being, both living and dead, both fact and fiction, a realm that we have growing access to through the proliferation of synthetic biology and cryopreservation. The article concludes through a presentation of anabiotic geographies, postulating on the changing biocultural significances we attach to organisms both extinct and extant, and considering their implications for the contemporary extinction crisis.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Science fiction Illustrations"

1

De, Smet Elsa. "Voir pour Savoir. La visualisation technique et scientifique de l’aventure spatiale dans le monde occidental entre 1840 et 1969." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040160.

Full text
Abstract:
Entre la première photographie jamais prise de la Lune en 1840 par J.W. Draper et la première photographie prise depuis le sol de notre satellite en 1969 par la mission Apollo 11, l’aventure spatiale occidentale a donné lieu à une vaste production d’images. Toutes ont cherché à comprendre, capturer et communiquer au plus grand nombre l’aspect du cosmos. Absorbé comme une évidence par la culture collective, ce corpus hétérogène, protéiforme et aux délimitations complexes, relève d’une histoire culturelle qui reste difficile à classer, entre histoire des sciences et histoire des images. Les visualisations qui en résultent, marquées par les traditions de l’histoire de la représentation et fabriquées en parallèle des évolutions technologiques de l’astronomie et de ses moyens d’observation, ont tout autant façonné le regard de l’astronomie physique et la culture visuelle de ses observateurs néophytes. L’analyse de la formation et de l’épanouissement de l’Art spatial au XXe siècle nous ouvre ainsi les yeux sur un corpus visuel où la coalescence entre science et style est une condition nécessaire à son existence. A l’épreuve de l’histoire de l’histoire de l’art et des études visuelles, ce dernier trouve également toute sa place dans une analyse qui vise à dévoiler la puissance et la qualité performative des images. Qu’il s’agisse d’une imagerie vulgarisant le savoir savant à des fins didactiques, d’une volonté de saisir l’image du cosmos pour le découvrir ou d’une dissémination culturelle au cœur des grands mythes du siècle, l’exploration spatiale fut aussi une entreprise du regard qu’il nous incombe d’observer
Between the first photograph taken from the moon in 1840 by J.W. Draper and the first photograph taken from our satellite’s ground in 1969 by Apollo 11’s mission, western space odyssey led to a wide range of images. They all had the common goal of understanding, apprehending and sharing the aspect of cosmos with as many people as possible. Evidently absorbed by a collective culture, this heterogeneous and multifaceted corpus with many complex boundaries is based on a cultural history, which remains hard to classify, between science history and images history. The resulting visualizations, heavily influenced by the traditions of the history of representation and made in parallel of the technical evolutions of astronomy and its means of observation, have equally shaped the look of physical astronomy and of the visual culture of its neophyte observers. The analysis of the creation and the fulfilment of Space Art in the twentieth century make us open our eyes on a visual corpus where the coalescence between science and style is a necessary condition to its really existence. Confronted to History of Arts and to visual studies, this corpus finds its place within an analysis, which pursues to disclose the power and the performative quality of images. Whether it be an imagery popularizing the deepest knowledge for teaching purposes, a will of grabbing the image of cosmos in order to discover it or a cultural dissemination at the heart of the most important myths of the century, spatial exploration was also an experience of the look we need to observe
APA, Harvard, Vancouver, ISO, and other styles
2

Page-Lippsmeyer, Kathryn. "The space of Japanese science fiction| Illustration, subculture, and the body in "SF Magazine"." Thesis, University of Southern California, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10160154.

Full text
Abstract:

This is a study of the rise of science fiction as a subculture in the 1960s through an analysis of the first and longest-running commercial science fiction magazine in Japan: SF Magazine. Much of the research on science fiction in Japan focuses on the boom in the 1980s or on the very first science fictional texts created in the early years of the twentieth century, glossing over this pivotal decade. From 1959-1969, SF Magazine ’s covers created a visual legacy of the relationship of the human body to space that reveals larger concerns about technology, science, and humanity. This legacy centers around the mediation of human existence through technology (called the posthuman), which also transforms our understanding of gender and space in contemporary works. I examine the constellation of Japanese conceptions of the body in science fiction, its manifestations and limits, exploring how the representation of this Japanese, posthuman, and often cyborgian body is figured as an absence in the space of science fiction landscapes. SF Magazine was used by consumers to construct meanings of self, social identity, and social relations. Science fiction illustration complemented and supported the centrality of SF Magazine, making these illustrations integral to the production the of science fiction subculture and to the place of the body within Japanese science fiction. Their representation of space, and then in the later part of the 1960s the return of the body to these covers, mirrors the theoretical and emotional concerns of not just science fiction writers and readers in the 1960s, but the larger social and historical concerns present in the country at large.

The horrifying and painful mutability of bodies that came to light after the bombing of Hiroshima and Nagasaki manifests, in the latter years of the 1960s in science fiction, as the fantastically powerful mutating bodies of super heroes and cyborgs within the science fictional world. The bombed spaces of the postwar (largely ignored in mainstream 1960s media) were reimagined in productive ways on the covers of SF Magazine, mirroring the fiction and nonfictional contents. It is through this publication that a recognizable community emerges, a particular type of identity becomes associated with the science fiction fan that coalesced when the magazine began to offer different points of articulation, both through the covers and through the magazine’s contents. That notion of the science fiction fan as a particular subjectivity, as a particular way to navigate the world, created a space to articulate trauma and to investigate ways out of that trauma not available in mainstream works.

My work seeks to build on literary scholarship that considers the role commercial and pulp genres fiction play in negotiating and constructing community. I contribute to recent scholarship in art history that investigates the close relationship of Surrealism to mass culture movements in postwar Japan, although these art historians largely center their work on advertising in the pre-war context. Furthermore, my project reconsiders the importance of the visual to a definition of science fiction: it is only when the visual and textual are blended that a recognizable version of science fiction emerges – in the same way the magazine featuring the work of fans blurred the boundary between professional and fan. Hence, although the context of my study is 1960s Japan, my research is inseparable from larger investigations of the visual and the textual, the global understanding of science fiction, the relationship between high art and commercial culture, and contemporary media studies. This work is therefore of interest not only to literary science fiction scholars, but also to researchers in critical theory, visual studies, fan studies, and contemporary Japanese culture.

APA, Harvard, Vancouver, ISO, and other styles
3

Toker, Gulen. "Understanding And Demonstrating The Contribution Of Objects To The Construction Of The Idea Of Future In Science Fiction Films." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609519/index.pdf.

Full text
Abstract:
The science fiction cinema is often concerned about future, and presents to its audience possible alternatives for it. Each science fiction film about the future constructs a different idea in the audience&rsquo
s mind and supports a currently existing ideology at the same time. The science fiction genre extrapolates and speculates about future which results in a new world: Aliens, androids or clones become participants of this world, intergalactic federations regulate diplomatic relationships or natural disasters endanger the whole humankind. The indispensable factor in every case is that new objects surround the future. They are extrapolated or speculated as well from the objects of today in order to fit to and satisfy the needs of the future world of the science fiction film. The ideas about the future presented in the film are supported by the material existence of these future objects. This study demonstrates the ideas and ideologies in respect to future in the science fiction cinema and investigates how the future objects contribute to constructing them.
APA, Harvard, Vancouver, ISO, and other styles
4

Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.

Full text
Abstract:
This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.
APA, Harvard, Vancouver, ISO, and other styles
5

何從. "3D digital image is in the science fiction scenario illustration research of the application." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/75182221891772957191.

Full text
Abstract:
碩士
國立臺灣師範大學
設計研究所在職進修碩士班
91
Abstract During historic process of contemporary Graphic Design, there are three lines of major discoveries that influence us significantly. First, in the middle of fifteen century, Johann Gensfleisch zum Gutenberg （c. 1387 — 1468 of Mainz, Germany）discovered metallic movable-type printing. Second, in around 1871, John calvin Moss made the first attempt to apply photo technology to the printing. Third, at 1981, personal computer was widely applied to replace scissors, rulers and glue, even to substitute the photo technique in dark rooms. This turns out to produce an unprecedented impact. In the field of Illustrations design, it is unavoidable that the same impact also occurs, particularly due to the rapid progress of computer graphic software. It is quite popular to use computer to create graphs or illustrations. However, attempts have not been made to use three-dimensional software for graphing until recent ten years. The reason is due to a high price. Nowadays, not only the price of three-dimensional software is decreasing rapidly, but also the running speed for personal computer is in rapid progress. As it is easier to operate in three-dimensional program, its function does better. In addition to using conventional illustrators start to apply the symbols or graphs derived from three- dimensional software to their graphs or images. In the process of making illustrations, as illustrators instilled such super-power software tools, it certainly produces many phenomenal, which are worth of being observed. As a result, graph design and idea must replace the old style, and new pattern will appear. Many unpredictable experiments will come out. No matter what the design or idea comes out, powerful software tools will use the virtual methods to express the realistic identical images. Also given the illustrator is very big to modify hazard of works. The goal of this report is to describe the image experience of probing into this process and to introduce the methods and patterns how to use three-dimensional software to make illustrations. also create physically works and analyze regarding the illustration of the science fiction as the example, Three-dimensional digit image and traditional the probability combined by illustration.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Science fiction Illustrations"

1

Alain, Schlockoff, ed. Encyclopédie de la science-fiction. Paris: J. Grancher, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Infinite worlds: The fantastic visions of science fiction art. New York: Penguin Studio, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Bergin, Mark. How to draw science fiction. New York: PowerKids Press, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Virgil Finlay's strange science. Novato, Calif: Underwood-Miller, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Whelan, Michael. Michael Whelan's works of wonder. New York: Ballantine Books, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Michael Whelan's works of wonder. New York: Ballantine Books, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Michael, Whelan. Michael Whelan's works of wonder. London: Columbus, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

White, Tim. The science fiction and fantasy world of Tim White. London: Paper Tiger, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Imagination: The art & technique of David A. Cherry. Norfolk, Va: Donning Co., 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Wood, Robin. The people of Pern. Norfolk: Donning Co., 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Science fiction Illustrations"

1

Seyferth, Peter. "Vom Frontispiz zum Buchcover. Die Illustrationen der Science Fiction." In Titelblätter, Titelkupfer, Frontispize, 307–70. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05721-1_29.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kymäläinen, Tiina, Olli Suominen, Susanna Aromaa, and Vladimir Goriachev. "Science Fiction Prototypes Illustrating Future See-Through Digital Structures in Mobile Work Machines." In EAI International Conference on Technology, Innovation, Entrepreneurship and Education, 179–93. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02242-6_14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"LIST OF ILLUSTRATIONS." In Science Fiction Cinema, xii. Edinburgh University Press, 2007. http://dx.doi.org/10.1515/9780748628704-003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"List of Illustrations." In Masculinity in Contemporary Science Fiction Cinema. I.B.Tauris, 2018. http://dx.doi.org/10.5040/9781350987142.0003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Telotte, J. P. "Cover Stories." In Movies, Modernism, and the Science Fiction Pulps, 103–28. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190949655.003.0005.

Full text
Abstract:
Abstract: One of the most famous aspects of early pulps such as Amazing, Astounding, and Wonder Stories was their visually arresting covers, drawn by popular artists like Frank R. Paul, Howard V. Brown, and Hans Wesso. This chapter examines how those covers, as well as the magazines’ interior illustrations, drew on a kind of cinematic logic, with their style recalling that of movie posters, their images evoking the practices of movie-viewing, their subjects often including elements of film technology, and, late in the period, their designs even imitating specific films or film images. Like the movies, these illustrations drew readers out of their everyday experience, while starkly visualizing the ability of both the SF and cinematic imaginations to let us see other worlds, other beings, and other technologies.
APA, Harvard, Vancouver, ISO, and other styles
6

"Science Fiction." In The Visual Dictionary of Illustration, 204. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2009. http://dx.doi.org/10.5040/9781474293754.0192.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Engelhardt, Nina. "Mathematics and Fiction: Thomas Pynchon, Gravity’S Rainbow." In Modernism, Fiction and Mathematics, 126–56. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474416238.003.0005.

Full text
Abstract:
Chapter 4 sets the engagement with modernist mathematics into broader context when examining the rise, fall and transformation of Enlightenment thinking and science in Pynchon’s Gravity’s Rainbow. This chapter also zeroes in on a topic that runs through all chapters: the interrelations of mathematics and fiction. The analysis focuses on illustrations of fictionality regarding the mathematical concepts of infinitesimals, the calculus, and probability theory and their philosophical and ethical consequences. The examination of interdependent ‘real’ and ‘fictional’ elements in mathematics provides a new perspective on Brian McHale’s identification of ontological uncertainty as the novel’s definitive postmodernist trait: the chapter shows that the novel’s renegotiation of mathematics is a decisive factor in its introduction of postmodernist features. As the title ‘Gravity’s Rainbow’ with its combination of a scientific and a poetical image implies, Pynchon’s novel suggests that the shared use of fictional concepts both in mathematics and in literature connects the seemingly opposed realms.
APA, Harvard, Vancouver, ISO, and other styles
8

Burenina-Petrova, Olga. "The “Interplanetary” Artistic and Artificial Languages in Literature and Art of the 1900–1920s (Konstantin Tsiolkovsky, Alexander Bogdanov, Alexey Tolstoy, Brothers Gordins)." In At the Crossroads of the East and the West: The Problem of Borderzone in Russian and Central European Cultures, 253–73. Institute of Slavic Studies, Russian Academy of Sciences, 2021. http://dx.doi.org/10.31168/4465-3095-3.10.

Full text
Abstract:
In the history of culture, projects of artificial languages were mainly associated with the search for some universal and, if possible, ideal means of communication, as evidenced, in particular, by the projects of Rene Descartes, John Wilkins, Johann Martin Schleier, Ludwik Zamenhof, Edgar de Waal, Jacob Linzbach, and others. In the late nineteenth-early twentieth centuries, not only scientists but also science fiction writers, the first of whom was H.G. Wells, offered illustrations and sketches of fictional artificial languages. The esssay mainly examines cases of artificial languages employed for interplanetary communication that take place in Russian science fiction novels (“The Red Star” by Alexander Bogdanov and “Aelita” by Alexey Tolstoy). In addition, it covers experiments in the field of inventing an interplanetary language by Konstantin Tsiolkovsky in a number of popular science and fiction works, as well as by Wolf Gordin in his works on the pan-methodological language of AO. In line with the philosophical ideas of Roland Barthes about the discourse of power, as wellas considering two types of sociolects and, accordingly, two types of languages (encratic and acratic), artificial languages are classified as acratic, since they are usually created in order to confront the mechanisms of power as such. The projects of the artificial and artistic (fictional) languages of the early twentieth century not only an attempted to find a language of communication between the inhabitants of different planets; they also urged to invent a universal means of language communication that would bring together the people of the East and the West who were separated by revolutions and wars.
APA, Harvard, Vancouver, ISO, and other styles
9

"The Scots Language is a Science Fiction Project." In Scottish Writing After Devolution, edited by Marie-Odile Pittin-Hedon, Camille Manfredi, and Scott Hames, 176–97. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474486170.003.0010.

Full text
Abstract:
Harry Josephine Giles’s chapter brings together an analysis of the use of Scots in 21st-century prose fiction with postcolonial approaches to science fiction, with a view to assessing what postcolonial and indigenous studies might offer the novel in Scots. Their chapter critically reads Scots science fiction as a project of creating language and nation, and argues that the science fictional approach is at once necessary to the problem of the Scots language novel and an illustration of its (post)colonial limits. By analysing the use of temporality in the Scots of Matthew Fitt’s But n Ben A-Go-Go (2005) and Wulf Kurtoglu’s Braken Fences (2011), as well as the role of the indigenous in the science fiction of James Leslie Mitchell and in Kurtoglu’s novel, Giles demonstrates that language is a temporal ligature, binding past, present and future together, and that this ligature brings both the potential and the limits of Scots as a language.
APA, Harvard, Vancouver, ISO, and other styles
10

Wójtowicz, Maria. "Grafika towarzysząca satyrycznym tekstom o literaturze na łamach „Liberum Veto”." In O miejsce książki w historii sztuki. Część III: Sztuka książki około 1900. W 150. rocznicę urodzin Stanisława Wyspiańskiego, 171–90. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381386548.12.

Full text
Abstract:
The subject matter of this publication is the analysis of the illustrations of a satirical magazine entitled Liberum Veto, alluding to modernist and earlier literature. The periodical was published in the years 1903–1905 in Kraków and Lviv. One of its founders was August Kisielewski, its first publisher was a printer from Krakow, Władysław Teodorczuk. The editors were Franciszek Czaki and Adolf Neuwert- -Nowaczyński, and after the editorial office had been moved to Lviv, Władysław Milko. Numerous draftsmen who were cooperating with the magazine included: Kazimierz Brzozowski, Karol Frycz, Władysław Jarocki, Stanisław Kuczborski, Tymon Niesiołowski, Kazimierz Sichulski, Fryderyk Pautsch, Antoni Procajłowicz, Henryk Uziębło, Witold Wojtkiewicz and Stanisław Szreniawa Rzecki. And also during the Lviv period, Oskar Aleksandrowicz and Tadeusz Waltenberger cooperated with the magazine (dates unknown). The magazine consisted of regularly published columns, for example, the cycle Polski Parnas (Polish Parnassus), where modernist artists published pasquils (lampoons) under easily recognisable pseudonyms. In the magazine, one may see illustrations related to Stanisław Wyspiański, a versatile artist who was presented here mainly as the author of modernist dramas with the message of national liberation; Adam Mickiewicz, the national bard who was still present in the social consciousness; and Henryk Sienkiewicz, whose great novels made him a respected figure of the world of literature. This caused numerous biting criticism against the draftsmen and editors of Liberum Veto. The creator of the Zakopane Style, Stanisław Witkiewicz, was also depicted in a satirical way. The staging of the drama Eros i Psyche (Cupid and Psyche) featuring Irena Solska enhanced public interest in the figure of Jerzy Żuławski, the creator of Polish science-fiction literature. Other people shown in the illustrations included Lucjan Rydel, Kazimierz Przerwa-Tetmajer, Wacław Wolski, as well as the Greek fabulist Aesop living in the 6th century BC.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Science fiction Illustrations' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography